Geomundo Boat Song is a labor song sung by fishermen in Geomundo Island, South Jeolla Province, while catching fish. The accompaniment instruments include drums, kkwaenggwari and janggu, and when the seon-sori-kkun picks up the sound, other sailors sing in the form of a backstitch.
The song differs depending on the work, so there are many kinds of boat songs, and the spirit and emotions of the simple and powerful fishermen are shown.
- Sulbi sori: A song that is sung while twisting a rope used on a boat.
-Gosa sori: Songs sung to the Dragon King to pray for wealth before the ship leaves
-Not sori: a song sung while rowing an oars.
-Wallae sori: Songs to sing when pulling a song
-Garae sori: a song to sing when drawing up meat
-Sseol sori: a song that you sing when you come home full.

Geomundo Boat Song is composed of unique rhythms and languages as the local dialect lingers. It is also a song that shows regional characteristics and has a unique aspect that is not mixed with other local boat songs, but continues to be purely traditional and cannot be found anywhere else.☆

☆Salpuri Dance is said to have come to this day as its title was called mouth dance, improvisation dance, and towel dance, which became common.

According to the literature, Han Seong-jun founded the "Joseon Music and Dance Institute" in 1934, and during the first Hansungjun Dance Presentation in Bumin-gwan in 1936, he put the Bang-an Dance on the theater stage and used the name Salpuri Dance for the first time.

Since then, a full-fledged Salpuri dance has gradually emerged among the public, and its artistic value has been recognized and inherited as a representative dance of the Korean people's emotions.

On January 29, 2015, Lee Eun-joo was recognized as the holder of the cultural property.

※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).

Jinju Gyobang Gutgeori Dance refers to the Gutgeori Dance, which is handed down by the Jinju Gyobang. Gyobang refers to an institution that used to teach music, song, and dance of gisaeng (女樂··), and it was called Gyobang Gutgeori dance because it started when shamans were absorbed in the Gyobang under the prohibition of shamanism.

Gyobang Gutgeori Dance starts with Jajin Taryeong, which is a gutgeori rhythm. It is calm, sticky, delicate, and mournful.

The Gyobang Gutgeori Dance in Jinju is a traditional dance that expresses the mysterious and fantastic atmosphere of Korean dance, and continues its tradition in the preservation society with Kim Su-ak, who lives in Jinju. ☆

When a person died on Jindo Island after a long life, villagers came to console the bereaved family and had professional entertainers perform all night, which was part of the custom of praying for the peace of the spirit of the dead. Dasiraegi is a term referring to this custom.

Goguryeo (circa 37 BC – 668 AD) tomb murals and books on the history of Goguryeo and Silla (57 BC – AD 935) show that people sang and danced during the funeral period.

Jindo Dasiraegi is composed of five acts. In Act I, a person pretending to be a member of the bereaved family exchanges jokes with mourners. In Act II, a blind man, a female member of the troupe and a monk engage in a round of play. In Act III, mourners carry an empty bier on their shoulders and sing a funeral song. In Act IV, the mourners assume an act of digging a tomb, while singing a song. In the final Act, food and liquor are served to the invited entertainers.

Jindo Dasiraegi is the country’s only folk play performed during a funeral period and handed down among professional entertainers belonging to Sincheong (an organization of exorcists and music performers). It is a valuable source of material for those studying funeral customs and folk plays. ☆

☆ Gagok is one of the top three vocal music genres in Korea, along with pansori and beompae. While the Sijo is popular, Gagok has been passed down by experts along the line, with 24 male and 15 female songs being called Gagok Hanbatang(suite).

Gagok is sung Sijo poem whi is composed of five chapters, to the chamber orchestral accompaniment of the piri, daegeum, gayageum, geomungo, and haegeum. The artistry is no match for sijo and lyrics. traditional gagok is played by a 16 or 10 beat Janggu rhythm, consisting of a traditional music modes such as Ujo and Gyemyeonjo.

Songs from the late Joseon Period are played at the peak of the Jang Woo-byeok, followed by Park Hyo-gwan, Choi Soo-bo, and Ahn Min-young, and then Myeong Wan-byeok and Ha Gyu-il. Ha Gyu-il is being passed down again as Lee Ju-hwan, Hong Won-ki, Kim Wol-ha and Jeong Gyeong-tae.

Gyeongsang-do, in particular, has been a place where the Gagok masters lived since the 1930s and worked hard to transfer their songs.

Park Deok-hwa (real name Park Gi-ja) is the owner of a Korean traditional song that can represent Korea's long-standing traditional sound in Korea. Park Deok-hwa is a female singer who uses the traditional singing style of Yeochang(female) Gagok by studying songs from Jeong Gyeong-tae and Yoo Jong-gu, and uses Jeongganbo(traditional music score system) to systematically transfer the entire base of the song to the younger generations, continuing the tradition of Yeongnam Gagok.

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☆ Songs used in Buddhist rituals are called Beompae, and dance is called Jakbeop or Jakbeop-mu.

Beompae and Jakbeopmu in Incheon were first performed by King Taejo (1398) of the Joseon Dynasty when he moved the Tripitaka Koreana from Seonwonsa Temple in Ganghwa to Jicheonsa Temple and unceasing.

From 1928, Beompae and Jakbeopmu including Bara-chum, Nabi-chum, Beopgo-chum were performed in Buddhist rituals in Yaksasa Temple, Myohyangsa Temple, and Haegwangsa Temple.

Barachum is a dance that breaks down all the disturbances and praises Buddha's political laws. It is characterized by its strong, rugged, and thick lines containing the spirit of Incheon's sea, and its execution for the sake of patriots is different from other regions.

In Guyangsa Temple, Buddhist Monk Neunghwa is dedicated to the guidance of victory by performing Hyeonchungjae every year.

☆ Nabi-chum(Butterfly dance) is a dance that symbolizes Buddha's law. The dance, also known as Haetalmu(a dance of nirvana), is a dance that has influenced folk dance in combination with Nanani dance in Incheon, and is further sublimated to its artistic value.

It is a dance for the discovery of mercy, the discovery of true hearts, and the discovery of legal treasures. In order to be taught by the Buddha and reach the law, it dances to the bands such as Hyanghwagae, Unsimge, Samjeogui, and Ogongyang, or to play with accompaniment such as hojeok, gong, or Samhyeon Yukgak.

☆Nongak is the music played by farmers during work time and play percussion instruments such as Kkwaenggwari, Jing, Janggu, and Buk.

According to the purpose of performing nongak, the types can be divided into Dangsan-gut, Madang Barpgi, Geolip-gut, Dure-gut, Pan-gut, Giuje-gut, and Bae-gut.

With regional classifications, they are divided into Gyeonggi Nongak, Yeongdong Nongak, Honam Udo Nongak, Honam Jwado Nongak, Gyeongnam Nongak, and Gyeongbuk Nongak.

Busan Nongak, a type of Gyeongnam Nongak, is mainly composed of Geollip-gut, which takes turns playing nongak at the beginning of the first lunar month, and praying for blessings. Compared to other nongak, it has a lot of gutgeori rhythms and dances in four beats slower than other nongak. It has excellent functions of spinning sangmo and beoggu nori, and the four buks are matched and the technique of holding the buk is excellent.

Nongak, which has been connected with the history of the people, is a long folk belief of Korean people, and should be preserved as a traditional folk art that combines dance and rhythm.

Currently, the Busan Nongak Preservation Association is striving to pass down and distribute the music.

☆Pansori is a stage art consisting of a singer, a drummer, and spectators. The one who sings makes sounds, lines(Aniri), and gestures(Balim), and the one who plays Buk according to the tune of the one leads to an exciting atmosphere.

Pansori is divided into Dongpyeon-je in the northeastern part of Jeolla-do and Seopyeon-je in the southwestern part of Jeolla-do, and Junggo-je in Gyeonggi-do and Chungcheong-do according to its regional characteristics and genealogy.

Pansori has originally twelve batangs(songs) but almost disappeared during the Japanese Colonial Period. Only five batangs of Chunhyangga, Simcheongga, Heungbooga, Sugungga, and Jeokbyeokga remain until now.

Simcheongga is one of the five pansori madangs, and Simcheong, the daughter of Simbongsa, fell into Indangsu to open her fathers eyes, but with the help of the Great Jade Emperor, she was reborn as the empress and became a filial daughter by opening her father's eyes.

Shim Chung-ga's artistic owner, Lee Im-rye, was born and raised in a family that played Korean traditional music, so she was able to develop her musical talent early on and took over the typical sound of Gangsanje, which is a type of Seopyeonje.

☆Pansori is a stage art consisting of a singer, a drummer, and spectators. The one who sings makes sounds, lines(Aniri), and gestures(Balim), and the one who plays Buk according to the tune of the one leads to an exciting atmosphere.

Pansori is divided into Dongpyeon-je in the northeastern part of Jeolla-do and Seopyeon-je in the southwestern part of Jeolla-do, and Junggo-je in Gyeonggi-do and Chungcheong-do according to its regional characteristics and genealogy.

Pansori has originally twelve batangs(songs) but almost disappeared during the Japanese Colonial Period. Only five batangs of Chunhyangga, Simcheongga, Heungbooga, Sugungga, and Jeokbyeokga remain until now.

Chunhyangga is one of the five madangs of pansori, where Lee Mong-ryong, the son of Vice Minister Namwon, broke up with Chunhyang, the daughter of Wolmae, and was imprisoned after refusing to accept official's sexual advances.

Jeong Chun-sil, the owner of the Dongpyeonje Chunhyangga entertainment show, is a singer who has a thick and rich voice, and she can see her ability to freely use the upper and lower pitches.

☆Hyangje Julpungnyu(rural chamber music) is a rare across Korea, and 'Daejeon hyangje julpungnyu' is valuable because it contains local characteristics well.

☆A traditional performance of song and dance by women, Ganggangsullae was first performed by local women around the coastal areas of Jeollanam-do on moonlit nights around the Chuseok (Harvest Moon Festival) on the 15th day of the 8th lunar month.

Some believe that the dance was first danced as part of a military tactic designed by Korea’s great naval hero, Admiral Yi Sun-sin (1545-1598), to surprise the Japanese naval forces invading the southwestern coast of the Korean Peninsula during the late 16th century and mislead them into believing that he had strong enough forces to repel them.

Meanwhile, some argue that it can be traced as far back as prehistoric times when early settlers on the Korean Peninsula had already established a tradition of singing and dancing on moonlit nights.

Whichever version is the more correct explanation, the dance continued to develop and become more sophisticated, and eventually became associated with other folk games such as “bracken picking,” “herring tying,” “tile treading,” “tail picking,” “straw mat rolling,” “gatekeeping”, and “needle threading,” as well as “tortoise play,” in which one dancer moves to the center of a circle with others following her.

The dance consists of a range of exciting movements and formations and is preserved in Haenam and Jindo on the southwestern coast of Korea.

☆In Suyeong-gu, Busan, a local government called 'Nongcheong' was established to promote production by enhancing the skills and cooperation of farmers. As the farming practices and the following farming practices disappeared due to rapid urbanization, the farmers played nongak(music of farming), sang nongyo(folksongs of farming), and played the farming process.

In Suyeong Nongcheong Nori, two men and women sing full songs one by one when the farmers gathered by the collective signal, arranged in the order of farming implements, farmers, and wives, and the whole group dances to the Nongak rhythm and enters an amusement park symbolized as a workplace. After planting rice in the order of spading, pulling out of seedling, rice planting, and threshing in accordance with the farming process, male farmers play rice paddies, divide them into east and west, and play cow fights, and leave after a long time.

In urbanized Suyeong, the reproduction and theatricalization of the work centered on agricultural songs sung by agricultural officials is not only meaningful in that it inherits the folk songs of the Busan area, but also in that it inherits the spiritual legacy of the ancestors' cooperation, unity, and hard work.

Talchum (Mask Dance) is a stage play in which one person or people wearing a mask takes the role of a person, animal or a supernatural being (god), delivering a message through dialogues or dances. Talchum was performed throughout the country until the early Joseon Period. After the Sandae (a type of mask dance) came no longer to be performed in the Royal Palace in 1634 (the 12th year of King Injong’s reign), it was still enjoyed as a pastime by ordinary people.

Eunyul Talchum was performed for 2-3 days on Dano (May 5 in the lunar calendar), Buddha’s birthday (April 8), and on Baekjung (July 15). It is said that people who fled to islands during war 200-300 years before wore masks on their return home as they felt ashamed, and that was the origin of Eunyul Talchum. Eunyul Talchum is composed of six acts, Lion Dance, Sangjwa Dance, Mokjung Dance, Old Monk Dance, and Dance of the Old Couple. Prior to the performance, the troupe held a sacrificial rite in a forest and marched to the site of the performance, entertaining people along the road. There are a total of 28 characters appearing on the performance. The play included satires about nobles harassing commoners, depraved monks, and male chauvinism in the custom of allowing a man to take plural wives.

Eunyul Talchum displays a relationship with Bongsan Talchum (Mask Dance of Bongsan) and Haeju Talchum (Mask Dance of Haeju), both of which stem from Hwanghaedo Talchum (Mask Dance of Hwanghae-do).☆

☆Sokcho Domun Nongyo is a farming song that is inherited from Domun Village, an agricultural village formed along the Ssangcheon Stream. In particular, it is well preserved by villagers even in the midst of the disappearance of many agricultural songs during the modernization process, so it has a large designated value for systematic preservation and transmission of traditional culture.